@Kehaulani said in Claudio Roditi-RIP:

@Dr-GO said in Claudio Roditi-RIP:

They tell us in medical school, patients are not suppose to die from prostate cancer.

Bet me. My father died of prostate cancer.

I hope you read my ending comment to this line: To my professors that taught me this, reconsider. So would NOT bet against you. For sure.

@Kehaulani Well, it worked and did not cost anything.

@Dr-GO even though it’s a radio broadcast, it is in conjunction with a local school group. Whether their district will shut down or not we will see, as they are a bit outside the area that is currently shut down. I’m hoping that the radio session date of April 20th will stay on track but there’s always the possibility of delay.
My day job is covering the slack as well - people like to shop online when they are stuck at home, so our sales are increasing. I just may end up having to chem clean more horns that get returned!

@Dr-GO said in A Trumpet Cover I Did. Would love some tips/advice!:

My guess is a single chamber cardiac pacer for standard rhythms and a duel chamber biventricular for resynchronization.

And an AICD to jolt you back into rhythm.

@flugelgirl said in I won't be bored by band suspension:

@fels they are just using reharmonizations. Some of the changes in the older editions of the real books are actually ukulele chords, so they have been modernized over time.

It was often assumed that the ukulele would be played in a group with piano. So, with only four notes available to it, the arrangers would write the ukulele part playing the middle and upper extension notes of a chord.

So, for example, when the actual chord was a C Maj9, (C-E-G-B-D), the ukulele part would be E-G-B-D, but the actual chord would not be an E minor chord, it would be a C Maj9 with the root (C) being supplied by the piano (or bass player).

Dick Grove called this "bringing the chord up to zero".

@stumac said in Garth Brooks Gershwin Award:

Not available in Australia due to rights restrictions.

What? Australia is Not Southern enough!

@Dr-Mark

Stuck in a shelter is right. I miss my band mates and many of my musical friends who would get together with me on weekends to jam a bit. So now all I do is play for myself and that ain't good because I am constantly picking my playing apart...☹

@Kehaulani said in CLEAN YOUR HORN!:

... having less resistance from the sudden absence of junk in it = change in pulmonary airway from aerosolization of growth in the brass"

This is an appropriate English to Medical Language translation.👏

Perfect pitch is a curse not a blessing. If you have perfect pitch A=440, what happens when the orchestra tunes to 441, 442, 445? What happens when playing outdoors and the pitch drops to A=438, 435? What about if you are playing in any historical pitch (A=415, 420/430).

No reliable and widely available therapeutic, no vaccine, increasing number of cases in many areas, really, what has changed is that folks are tired of being cooped up and many younger folks really need to get back to work! My state is letting groups of 25 persons or less get together now. Our band can number as many as 100. I do not even know if we will be allowed to meet by early July. And, like you George, I am just not so sure right now if I will participate.

Jim

Just found this "History" of preferences that is very interesting:
https://www.facebook.com/waschmid/videos/10106468185306921

I'm talking about something even more internal than that, but that's good point. The proverbial "Tyranny of the Barline".

As we know, phrasing is not so, necessarily, bound by barlines. In Jazz improvisation, one is freer from this rigidity but it applies to "classical" music, as well. A simple example (sorry, I don't know how to create and post my own graphics) is an eighth-note at the end of a bar. We can look at many note groupings and say, that's the end of the phrase, banging a metrical phrase interpreted as barline downbeats. But is it that, or a pick-up note into the next phrase?

Marcel Tabuteau was a master of phrasing and wrote, The Art of Phrasing which is brilliant. Any musician wanting to expand his/her phrasing possibilities and, hence, gain better, more sophisticated, musicianship should read it. This is a good time to do that.

A good alternative is Note Grouping by James Thurmond, which is based on the theories of Tabuteau and others but is expressed differently
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Good point, Dr GO.

I played with it back in March. I have a USB mic, so I didn't need their hardware. It works best with a hard-wired network connection, and doesn't work as well over WiFi or G4. But even with an good connection, it was marginal at best.

There was a slight delay, which took some getting used to, but sort of worked. However, when I played with a drummer, the native sound from the drums seemed horribly out-of-sync with what was transmitted.

Mike

@tmd said in Audacity settings:

I duplicate the original trumpet track. I add the reverb to the duplicated track only. Then I adjust the level on the duplicated track (usually to around -12, plus or minus), to get the right amount of reverb in the mix.

Very helpful. Thank you. I actually moved my entire "studio" to a larger room, which seemed to improve the sound a great deal. Then, per your suggestion, adjusted the processing using a duplicate track just for the reverb. Seems the preset "large room" was the most pleasing.

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@Kehaulani said in First gig today:

Looks good.

BTW, how was the temperature?

It was 97.8... I will leave it up to you as to what part of his body was measured to get to this reading.